THE LADYKILLERS OF HUMBER DOUCY LANE

THE LADYKILLERS OF HUMBER DOUCY LANE

Eastern Angles at The Sir John Mills Theatre

09.12.17

Another helping of seasonal jollity and surreal fun, this time from the pen of Harry Long. Not a spoof on the original, he insists. Perhaps an hommage.

Just as hilarious, and still recognizable, but with a very different feel, not least because the string quartet has now become a troupe of luvvies, putting on their Oscar Wilde as a front for some serious house-breaking. And, unlike their predecessors in the Ealing comedy, these jailbirds are really talented musicians.

Sean Turner’s set is one of the best we’ve seen at this address, with a staircase, and a perilously small upper floor for the little old lady’s easy chair. The upright piano doubles as the counter at the local nick, where weary coppers listen to Mrs Blaine’s imaginative accounts of wrongdoing on Ipswich’s “glorious boulevard”.

She’s wonderfully created by Emma Barclay, who thanks to some smart quick changes and a life-size cardboard alter ego, is also Cow Crusher, the brains of the gang. Todd Heppenstall is a menacing Left Eye, Alex Prescot the stage-struck Smithy – a touch of tap for his Chorus Line moment – as well as Mr Overlock, theatrical costumier. The depressing pessimist Kim, who finally finds love and a crystal chandelier, is played by Keshini Misha, and the strangely named Scar Feet – One Round in the original – is the excellent Daniel Copeland, last seen here, with Long, in Holy Mackerel.

Dominic Conway’s music includes On the Run, for the five convicts, the title number [“too charming to blame”], and a Les Miz tribute – One Job More – as they prepare for their last heist.

Veteran of the barricades Michael Ball is the subject of an often saucy running gag, Binkie’s friend Gladys makes a last minute cameo appearance on lead guitar, Michael Fish the pet penguin descends in his cage from the flies. There’s an inspired use of Lapsang Souchong, a very nice effect with vintage footlights and some stage curtains, and, as an Act Two warm-up, a chance for the capacity crowd to have their moment of fame in some innovative digital audience participation.

Not perhaps the finest “Yeasty Mangles” vintage, but in Laura Keefe’s fast-paced production, a warming feel-good tipple, enhanced of course by the traditional hot punch and mince pies in the interval.

From Gatacre Road the show travels to Woodbridge in January, and is finally re-located to Orton Brimbles for its Peterborough run.

production photograph: Mike Kwasniak

STOAT HALL

STOAT HALL

Eastern Angles at the Sir John Mills Theatre, Ipswich

10.12.2016

for The Reviews Hub

Toad Hall? Wolf Hall? The inspiration behind this bit of harmless fun is mostly Mantel – a Tudor rose projected onto the boards, Thomas Crudwell given a brief mention - but the Bard is in the mix too, together with Adele and Geoffrey Chaucer.
Fans of Eastern Angles' alternative Christmas entertainment will rejoice at the return of Mrs Giblets the dog, and thrice rejoice at the return of writing team Julian Harries and Pat Whymark. Pat also directs and acts as Musical Director.
The prologue owes a good deal to Shakespeare. The audience is divided into Suffolk and Norfolk – the traverse staging one of many challenges in this friendly but cramped auditorium.
“You there! Explain the plot!” The gauntlet thrown in jest to one of the cleverer, cheekier members of the audience. She can't, and there are no spoilers here, but the action begins with Sir Roger de Polfrey (excellently done by Ipswich Christmas veteran Richard Mainwaring) bemoaning the state of his stately pile – he's got damp in his front elevation, and even the king has heard word of his enormous crack. The jolly opening number has the various cowboy contractors sporting hammer, awl and ball-cock. A reluctant pretender to the throne, Roger has two daughters and a fool called Perch. There are but five actors, but the list of characters is long and eclectic: Gerald the Happy Herald, Sir John Dum-di-Dee, alchemist of choice, Agnes, ancient granny and Chaucerian, Tom Foolery,  Ant and Dec, body snatchers, Mr Softee, a further fool. A fine bestiary too, including a fox, a bluebird, a rabbit, and legendary devil dog Black Shuck. The audience stands in for the stoats, although there are stuffed stoats on the headgear of the secret society meeting in the crypt. No cuddly stoats on sale in the foyer, either, surely a merchandise opportunity missed.
Mrs Giblets, who plays Goblet the dog, surviving the vivisection table and bringing a wonderfully surreal touch to the final pages, did appear in the foyer at the end, a fond farewell to her fans and a fundraiser for Eastern Angles' Once Upon a Lifetime project.
Matt Jopling is a likeable Perch (and his rival Mr Softee), who is besotted with Sir Roger's fair daughter Rosamund (Geri Allen). The less alluring daughter, Hedwig, is played with enthusiasm, a beard, and a fine sense of the ridiculous by Patrick Neyman, who's also the Alchemist and a superb hooray Henry VIII. Violet Patton-Ryder mangles the Middle English with aplomb as Agnes, and is also the feisty Cook.
The choreography is lively and inventive on the tiny stage, and there are some splendid songs: The Fox is in the Thicket, for example, or the Unsuited duet for Rosamund and Perch, or the hilarious No Taste for Entertaining, in which Goblet shouts out foodstuffs to fit the lyrics … “there's an offal lot at steak”.
There's plenty of cod-piece humour (“What's that sticking out of your arras?”), some much-loved gags that were old when Will Somers was a boy - “Have you got quoits?” and variants, “Walk this way!” - but nothing is overplayed, the audience is involved but not humiliated, and there's an educational element, too. The collective noun for stoats is a caravan, apparently. 
As the man says - “excellent fooling, i'faith” - “just the Tudor ticket!”.

production photograph: Mike Kwasniak

HOLY MACKEREL!

HOLY 

MACKEREL!

Eastern Angles at the Sir John Mills Theatre Ipswich

08.12.2015

Shanty Theatre Company shares many of the ideals of Eastern Angles. So it makes sense to do as many others have done, to share a production. And what better subject than the culture clash between the West Country and East Anglian invaders ...

Fresh faces and new ideas for Ipswich. But this first partnership does not quite hit it off, despite an interesting historical background and some very clever notions. There are token attempts to interact with the Christmas show's loyal audience in the Sir John Mills, but not everyone manages a real rapport, and the tricky acoustic means that some of the words, and the lyrics, are lost.

The improbable plot is based in fact. The Newlyn fishing riots of 1896 saw “Yorkies” from Lowestoft steal an unfair advantage by fishing Cornish waters on the Sabbath.

The excellent company of five work hard to bring all the characters to life, directed by Tim Bell. Writer Harry Long has the lion's share of laughs as Norman the Chosen One, not, as he admits, the sharpest spanner in the works, who ends up leading both the mighty armies in the battle of Newlyn. Christian Edwards is Brassy Balls, the wicked boss of the fleet; Daniel Copeland the Harbour Master and the local Methodist minister. Mabel Clements is the sweet young local girl Kerra, Louise Callaghan a feisty Mags. Everyone, though, plays more than one part, and we're grateful for the names beautifully incorporated into their costumes.

Verity Quinn's design uses the space well – three entrances, ingenious storage, sixteen suspended oil lamps and bits and pieces flown in in the traditional way.

The style is often surreal, and relentlessly meta-theatrical. Subtext, allegory, soliloquy are all knowingly referenced. Some of the silliness works well: the three bearded harbour masters, the excruciating stage wait, the dual control room with a window for each side. And, in a rare concession to Christmas, there's a welcome appearance from Bella the Cow. Stu McLoughlin's music, though cleverly conceived, often feels like a distraction – boy band, Police tribute ensemble pieces are polished, but add little to the plot. But I enjoyed Norman's Les Mis “What Should I Do” moment.

The tone shifts from far-fetched flights of fancy to genuine tenderness, whereas infectious fun might fit the bill better, in this slot, in this space. And I know it's not a documentary – Norman thinks Wesleyanism is a type of cheese – but even in non-conformist Cornwall I'd be surprised to find a crucifix in chapel, or even a vicar …

production photograph by Mike Kwasniak

THE MYSTERY OF ST FINNIGAN'S ELBOW

THE MYSTERY OF ST FINNIGAN'S ELBOW

Eastern Angles at the Sir John Mills Theatre Ipswich

10.12.2014

Multiple mysteries, in fact, in this seasonal school-story confection by the famed team of Pat Whymark and Julian Harries, writers and directors.

Who is the real gardener here, and who the secret agent [from MFI5] ? Does anyone else remember the Ovaltineys ? Which is the character who is talked about a lot but never appears ? Could it be twin sister Lulu ? The ancient Sister Montezuma, confined by old age to the school tuck shop ? Brother Cadmium, sleuth monk ? Mrs Fenrir, the lupine dinner lady [a nod to this summer's Ragnarok] ? Or Scarcity Muttford, flapper and fascist ?

And who filched St Finnigan's elbow, the sacred relic with miraculous powers ?

The cast of five cope magnificently with the convoluted plot, changing costumes in a trice, providing instrumental accompaniment to the songs. Samuel Martin, as Billy and Sister Judith, even has a protracted fight with himself at the play's climax.

Greg Wagland, Eastern Angles Christmas favourite, has a ball as a sinister Rear Admiral, Cardinal Pecorino on his trusty Lambrusco, and school bully Lydia Bumolé. Oh, and Mr Cowell the music teacher.

Such celebrity name-checks are a running gag – Sister Usain Bolt [Suffolk lass Alice Mottram, impressively playing grotesques as well as schoolgirls] is the school's PE mistress, and all sorts of famous gels are dotted through the assembly hall.

Newcomer Joe Leat is excellent as an Irish Reverend Mother and Mr Facsimile the shifty Latin Master, and Alicia, our plucky heroine aged 15¾ is played by Francesca Gosling with a winning mix of feistiness and foolishness.

This catholic school for girls is a hot-bed of crime; this ripping yarn is a potent blend of Daisy Pulls It Off and Father Ted. There are tasty treats a-plenty along the way – the School Goose [is that a euphemism ?] and the cuddly moles, the hectic chase, the secret roulette table, the sea monster, the bearded bust of the saint, the stationery envy and the wrestling nuns.

And those wonderfully off-the-wall songs - “I'll be there to bully you”, “Isn't it grand” with fiddle and penny whistle, and the romantic “Alicia”, sax, violin and chorus of goose and moles.

It's all a wizard way to enjoy some festive fun; gold stars for silliness all round !

production photograph: Mike Kwasniak

THE BRONTES

THE BRONTES OF DUNWICH HEATH … AND CLIFF

Eastern Angles at the Sir John Mills Theatre, Ipswich

11.12.13

This year's literary Christmas tomfoolery explores the little-known Suffolk branch of Yorkshire's finest writing family, the Brontës of Haworth.

It's a clever blend of fact, fiction and fantasy, which assumes a certain familiarity with the literature. In the witty, erudite script, by Eileen Ryan and Eastern Angles Artistic Director Ivan Cutting, familiar characters rub shoulders with the authors, as the scene shifts from Dunwich to Barbados and back again. Cutting directs, with designs by Ian Teague [lovely sea-scapes] and music by Simon Egerton, who composed Parkway Dreams for the Peterborough branch earlier this year.

“Is it set in Egypt ?” wondered one myopic punter, mistaking the polystyrene cliff for a Sphinx. With the ingenious economy we have come to expect from this company, something of a feature is made of the scene shifting, simple boxes, benches and arches continually reconfigured.

The music, too, is shared around, as the performers take turns at the keyboard and turn their hand to tin whistle, guitar and ukulele. This last for the legendary laughing Hovelers, who “write all their own material”.

You have to have your wits about you to pick up all the throwaway jokes and the recondite references. Peter Grimes, Dolly the Sheep, Southwold's historic Sailors' Reading Room, Fred the Shred, and that's before we start on the Brontë books or the legends of Dunwich lost to the sea.

The less well-read are not forgotten – as Wikipedia has it, In Popular Culture, there's plenty of Kate Bush, and a reminder towards the end that, somewhat incredibly even in this wild and wuthering fantasy, Cliff Richard once starred in the Tim Rice musical of Heathcliff. And I wonder what the drama students from The Academy made of the constant cross-border sniping at Colchester … ?

Slipping in and out of costume and character are Laura Corbett as Plain Jane and Sophie Reid as Mad Cathy [beautifully dressed for the part]. Harry Waller divides his time between the keyboard, Patrick [Brontë père] and Mr Rochester the coconut magnate. [Lord Smeg, the fridge magnate, one of the many one-liners I've filed away for future use, together with OMGA …]. Clare Hawes plays countless menials, as well as the late Mrs B, whose tombstone we trip over on the way to our seats. A lively ghost she makes, totes fluent in social-media-speak, obvs …

But head and shoulders above the others, Cameron Johnson's strapping Heathcliff and his unforgettable Mrs Rochester, the madwoman with the mattock in the attic, the Barbadian bride who finds fulfilment in face creams.

Adele is a doll, Edith a cuddly seabird, there's hang-gliding, a coconut-oil calypso, a hothouse from the flies, and some very witty lyrics, despite the dearth of rhymes for Brontë. Could Lorenzo da Ponte have done any better ?

production photo: Mike Kwasniak

DIAL M FOR MURGATROYD

DIAL M FOR MURGATROYD

Eastern Angles at the Sir John Mills Theatre, Ipswich

01.12.2012

for The Public Reviews

Amateur sleuth Miss Murgatroyd is summoned from her quiet Little Inkling village to the Fitzall family seat at Great Clumping – we're in Agatha Christie territory for this country house murder mystery, the 25th Christmas show for Eastern Angles, and the 13th created by the matchless team of Julian Harries and Pat Whymark.

They'll do seventy-six shows over the next couple of months, in Woodbridge and Peterborough as well as their home at the Sir John Mills.

Dial M for Murgatroyd is two hours of madcap fun, with songs, dance and just a little audience participation. As usual, a virtue is made of the necessity of doing much with little – the economy is often the joke: doubling actors suddenly leave the stage, and in one priceless sequence, exchange dialogue as both Murgatroyd and the Scottish rubber baron Sir Gerald Bartrum. This is the amazingly versatile Patrick Marlowe, who also gives us the lusty butcher Mr Prickett, the strange Sergeant Ramirez, a girl guide, a tramp in the woods and Braintree, the butler. The scenery and props are similarly minimal: a tiny library, a minuscule butcher's shop, a handlebar bicycle, a dashboard car and a Morrison's trolley aeroplane all have their part to play.

The gratuitous, surreal and silly wing-walking number is a high point, and I also liked the clever "Agree to Differ" duet, and the Village chorus that opens and closes the show: "the butcher, the baker, the grim undertaker" ...

Harries himself plays the piano accordeon, the slightly soft-headed Fitzall, the alliterative Bertie Blue from the Butler Bureau, and the plodding Inspector Jessop. Lady Violet Fitzall, whose letter brings Miss M to the crime scene, is played by Emma Finlay, who also goes deliciously over the top as the mysterious Mad Meg.

Georgina, the Fitzall daughter, adventuress and prime suspect, is Deborah Howlett, and another newcomer, Samuel Martin, plays the librarian, butlers Barking and Wivenhoe, the fey Fenton Fitzall and a mean fiddle.

Yes, there are Essex jokes, Ipswich jokes, plenty of puns and sneaky smut, owls and sheep, marrow double entendres, cross talk routines, echoes of Blackadder, Round the Horne and even panto, all delivered with wild-eyed relish, irrepressible energy and a mischievous sense of fun.

It's the plum pudding to the panto's turkey and trimmings: no big names or big egos, no glitter or glamour, just five brilliantly funny performers and Penny Griffin setting the props, manning the board and keeping the whole show on the rails.

production photograph: Mike Kwasniak

this piece first appeared on The Public Reviews